david, the designer of the rusty box, is a good guy and is on here often. his nick is (believe it or not) Tronographic. I believe he modeled it after the preamp in an old 70's traynor ss amp. smart guy...that's a niche nobody was filling until him.

I just did an album session yesterday for a cool band called Youngblood Hawke, and used that Rusty Box a TON and it completely destroyed. Esp w/ a T-bird, going into 100w Fender Bassman and SVT. Nice.

Bass Big Muff is handy, but man: I just miss the mids. English Muff'n = outta there. Too grainy. I surprised myself too! Never thought EBS would be in the mix, but I REALLY like those two pedals they make...the small one, and especially the tube one. Wow. It's BALLS.

I don't have a DS-1, I have a Keeley OD-1. It has more low end than my original OD-1 that I still have.

Justin...you have mentioned many times you like a little dirt to your tone always/most of the time.... Is there any one pedal or pre you always have engaged for live performances to capture that vibe?....kinda like a "baseline tone" you build layers of effects/tones from? Looked at your Aggie settings from NIN stage pix and it looks like the gain was set below noon on your ag500 and db751..so that piqued my interest...made me wonder if all your dirt comes from pedals or pres specifically as opposed to amp overdrive
of course I understand on studio sessions it is all a different game...

Justin...you have mentioned many times you like a little dirt to your tone always/most of the time.... Is there any one pedal or pre you always have engaged for live performances to capture that vibe?....kinda like a "baseline tone" you build layers of effects/tones from? Looked at your Aggie settings from NIN stage pix and it looks like the gain was set below noon on your ag500 and db751..so that piqued my interest...made me wonder if all your dirt comes from pedals or pres specifically as opposed to amp overdrive
of course I understand on studio sessions it is all a different game...

thanks....

Mark

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Sans GT2, basically...though it depends on the music. In the studio, I always run the amps hot and breaking up, whether it's a B15, SVT, Aguilar, Traynor, Mesa Walkabout, whatever. Or with NIN live, Sans PSA 1.1. Always on, always in the signal flow. With Beck, it was always Sans RBI. With IMa Robot, GT2, and slightly blown-out SVT4's.

In other words, there's always some provision for constant dirt/character/warmth.